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ATTICUS

After the heady success of Mariette in Ecstasy (1991), Hansen toys with mystery writing in a slick fiction that also continues his last novel's spiritual intrigue. Here, the author deliberately invokes Lazarus and the Prodigal Son in a story that otherwise relies on lots of Hollywood imagery. Atticus Cody, like the Atticus of Harper Lee, is a righteous man in his 60s, a good father who can express himself only indirectly. His younger son, Scott, over 40 and still wandering through life, is home for the holidays, and, as usual, father and son can't communicate. With his history of manic-depression and suicidal bouts, Scott is anathema to his stoic dad, a successful oilman. He also suffers from the guilt of having killed his mother in a car accident after college, and senses his father's blame. All this changes later, though, when Atticus is summoned to Mexico to retrieve Scott's dead body. Shortly after meeting his son's friend in the decadent, expat community on the Gulf Coast, Atticus senses that something's amiss, that Scott didn't commit suicide but was murdered. Atticus's careful detective work is the best way he knows of showing love for his son, and he pursues the mystery with a sense of belated forgiveness and reconciliation. The mystery is more or less resolved two thirds into the novel, when Scott's discovered hiding out among the homeless in a church basement. He then wraps up all the disparate details in a sad tale of accidental murders, blackmail, mistaken identity, and an adrenalin-fueled effort to elude justice. Hansen spares none of the supercilious expatriates and bleeds for the oppressed campesinos with their mystical attachments to the land, making for a fairly predictable subtext. There's a writerly neatness in Hansen's vocabulary of images and allusions, though some seem jammed into the narrative for the sake of it. One suspects—and suspects again, when Scott mentions having a ``movie moment''—that Hansen wrote this one with an eye to the screen, where Mariette is due soon. (Author tour)

Pub Date: Feb. 1, 1996

ISBN: 0-06-018217-2

Page Count: 224

Publisher: HarperCollins

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Nov. 15, 1995

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A LITTLE LIFE

The phrase “tour de force” could have been invented for this audacious novel.

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Four men who meet as college roommates move to New York and spend the next three decades gaining renown in their professions—as an architect, painter, actor and lawyer—and struggling with demons in their intertwined personal lives.

Yanagihara (The People in the Trees, 2013) takes the still-bold leap of writing about characters who don’t share her background; in addition to being male, JB is African-American, Malcolm has a black father and white mother, Willem is white, and “Jude’s race was undetermined”—deserted at birth, he was raised in a monastery and had an unspeakably traumatic childhood that’s revealed slowly over the course of the book. Two of them are gay, one straight and one bisexual. There isn’t a single significant female character, and for a long novel, there isn’t much plot. There aren’t even many markers of what’s happening in the outside world; Jude moves to a loft in SoHo as a young man, but we don’t see the neighborhood change from gritty artists’ enclave to glitzy tourist destination. What we get instead is an intensely interior look at the friends’ psyches and relationships, and it’s utterly enthralling. The four men think about work and creativity and success and failure; they cook for each other, compete with each other and jostle for each other’s affection. JB bases his entire artistic career on painting portraits of his friends, while Malcolm takes care of them by designing their apartments and houses. When Jude, as an adult, is adopted by his favorite Harvard law professor, his friends join him for Thanksgiving in Cambridge every year. And when Willem becomes a movie star, they all bask in his glow. Eventually, the tone darkens and the story narrows to focus on Jude as the pain of his past cuts deep into his carefully constructed life.  

The phrase “tour de force” could have been invented for this audacious novel.

Pub Date: March 10, 2015

ISBN: 978-0-385-53925-8

Page Count: 720

Publisher: Doubleday

Review Posted Online: Dec. 21, 2014

Kirkus Reviews Issue: Jan. 1, 2015

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THE CATCHER IN THE RYE

A strict report, worthy of sympathy.

A violent surfacing of adolescence (which has little in common with Tarkington's earlier, broadly comic, Seventeen) has a compulsive impact.

"Nobody big except me" is the dream world of Holden Caulfield and his first person story is down to the basic, drab English of the pre-collegiate. For Holden is now being bounced from fancy prep, and, after a vicious evening with hall- and roommates, heads for New York to try to keep his latest failure from his parents. He tries to have a wild evening (all he does is pay the check), is terrorized by the hotel elevator man and his on-call whore, has a date with a girl he likes—and hates, sees his 10 year old sister, Phoebe. He also visits a sympathetic English teacher after trying on a drunken session, and when he keeps his date with Phoebe, who turns up with her suitcase to join him on his flight, he heads home to a hospital siege. This is tender and true, and impossible, in its picture of the old hells of young boys, the lonesomeness and tentative attempts to be mature and secure, the awful block between youth and being grown-up, the fright and sickness that humans and their behavior cause the challenging, the dramatization of the big bang. It is a sorry little worm's view of the off-beat of adult pressure, of contemporary strictures and conformity, of sentiment….

A strict report, worthy of sympathy.

Pub Date: June 15, 1951

ISBN: 0316769177

Page Count: -

Publisher: Little, Brown

Review Posted Online: Nov. 2, 2011

Kirkus Reviews Issue: June 15, 1951

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